1、 外文翻译 原文 Creativity and Knowledge as a Factor for Local Identity Material source: China journal net author: Oliver Frey Over recent years there has been much talk about creativity as an individual property, as capital, as a “connecting device” in the context of new networks, as a model of governance
2、 based more on the civil society with regard to the relationship between state, community and market and, most notably, as a starting point for cities and regions to survive economically or to provide position features that can be sold even more effectively in the competition of metropolises and reg
3、ions. This new embedding of social and economic processes in local or regional spaces becomes particularly clear with bigger cities. Cities have always been the place where radical change becomes visible first of all. They underlie permanent change at the macro-level of economy and culture, driven b
4、y the motor of changing social structures (Zukin 1995). Also, cities are themselves the cause and location of processes of social change. In particular, big cities create stimulation of structural change for society as a whole by the momentum of how they are socially, politically, culturally and eco
5、nomically constituted. The social, economic and cultural change which results in new developments of urban culture influences the meaning and perception of cultural tourism. The basic thesis of this paper is that by way of these transformation processes towards a knowledge-based “service city” a new
6、 way of embedding social and economic processes into local places is happening. Creativity and different types of knowledge play a major role in the development of cultural tourism. The interaction of built environment, social structures and processes at creative places in some neighbourhoods is see
7、n as a resource for cultural tourism. The basic thesis acts on the assumption that places express their complex urban identities by way of different “language” (physical morphology, social and economic structuredness and communicative interaction). These “language of creative places”, the spatial co
8、mplexity of structural, social, economic and cognitive factors are seen as a specific local identity which can be read and understood by a certain milieu of cultural tourists. Creativity and the “Renaissance of the City” Within the discourse on the “renaissance of the cities” theoreticians and pract
9、itioners argue in favour of economies which are highly dependent on being embedded in an urban context and which may thus contribute to restructuring the urban landscape (Judd et al. 1999; Lapple 2003; Dangschat 2006). The paper will take up theories on the knowledge society and will consider the me
10、aning of images and symbols to be highly significant for the production and consumption of urban places (Featherstone and Lash 1999). Terms such as “cultural economy”, “cultural industries” or “creative economy” (O Connor 1999) raise hopes of an economic upswing and urban-spatial re-evaluation among
11、 urban politicians, urban developers or economic developers. The social-scientific diagnosis of a knowledge-based services society indicates that concrete places in the city are of increasing significance for the production and consumption of specific, individual services (Castells 1996). In this co
12、ntext, cities are considered privileged places for both the production and the consumption of cultural goods and services but also places of social innovation. In this sense an urban cultural tourism contributes by its economic and social effects to a “renaissance of the city”. For this paper, creat
13、ivity will be defined as the ability to produce new original ideas with the help of knowledge. Based on creativity, innovation is considered a general term for the ability to develop new and original solutions. The precondition for this is the ability to give up old ways of thinking or points of vie
14、w and to make new, surprising connections, to find new connections between given data and structures (Kunzmann 2004) In the context of the theoretical debates on the “renaissance of the city”, the “creative milieus” (Hall 1998; Landry 2000; Florida 2002) play a particular role as bearers of civil so
15、ciety innovations and stimulators of urban development and renewal. They are said to represent an economic added value in the field of cultural industry as well as to stimulate civil society innovation for the related concepts of “innovative milieus” (Aydalot 1986; Camagni 1995), “knowledge milieus”
16、 (Matthiessen 2004) and the “creative milieu” (Frey 2008). The thesis of this paper is that the “creative milieu” as a specific social group within cultural tourism is highly mobile and internationally connected by the spheres of work and leisure. The Role of Cultural Tourism as a Sector of Urban De
17、velopment Cultural tourism started to be recognized as a distinct product category in the late 1970s when tourism marketers and tourism researchers realized that some people travelled specifically to gain a deeper understanding of the culture of heritage of a destination. In the 1990s cultural touri
18、sm was recognized as a high-profile, mass market activity (Richards 1996). Cultural tourism was seen as a double-edged sword by the cultural heritage management community. On the one hand, increased demand by tourists provided a powerful political and economic justification to expand conservation ac
19、tivities. On the other hand, increased visitation, overuse, inappropriate use and the commodification of the same assets without regard for their cultural values posed a real threat to the integrity and in extreme cases to the very survival of the assets (Law 1993). Ritchie and Zins (1978) defined c
20、ultural tourism as one of the key elements that attract tourists to particular destinations. Furthermore, they identified the 12 cultural elements which attract tourists to these destinations. These are briefly the handicrafts, traditions, gastronomy, leisure activities and dress. Some other element
21、s that they identified are the educational system and the religions. Cultural tourism is recognized as a form of special interest tourism, where cultural forms the basis of either attracting tourists or motivating people to travel. Cultural tourism is concerned with a local culture, especially its a
22、rts and involves the interrelationships between people, places and cultural heritage (Zeppel et al. 1992). For this paper cultural tourism is focused on urban areas and their cultural facilities such as museums and theatres in “creativedistricts“. The World Tourism Organization (WTO) defines cultura
23、ltourism as movements of persons essntially for cultural motivations such as study tours, performing arts and cultural tours, travel to festivals and other events, visits to sites and monuments, travel to study nature, folklore or art and pilgrimages (WTO 1985, p. 6). Cultural tourism activitiesincl
24、ude the use not only of cultural heritage as sets like archaeological sites, museums, castles, palaces, historical buildings, famous buildings and ruins but also vibrant cultural urban areas with their festivals, events, music and dance or subculture communities. The aim of this paper is to determin
25、e the effects of cultural tourism on cities and their neighbourhoods in the context of gentrification. Culture according to Brislin (1993) consists of ideals, values and assumptions about life that are widely shared among people who guide a specific type of behaviour in the sense of this paper: the
26、creative milieu . Culture or civilization is that complex whole which includes knowledge, beliefs, art, moral law, customs and other capabilities and habits acquired by man as a member of society. Culture is an essential part of human and urban life, a dynamic and evolving component of community, a
27、continuous link from the past to the present and through to the future. Cultural tourism does not have much effect on buildings but on social structures of neighbourhoods. In this sense cultural tourism influences the images, experiences, actions and cultures of neighbourhoods. 译文 创新和知识对本土文化的影响 资料来源
28、 : 中国期刊 网 作者： 奥利弗 弗雷 近几年有很多关于创意的说辞，将它作为 一种个人财产，作为一种资本，作为新的网络系统中一个“连接装置”，作为一种管理模式，更多地基于文明社会中关于国家，公众与市场之间的关系，而最明显的例子则是作为城市和地区经济地生存的一个出发点，或者是提供地区特点，从而能更为有效地解决城市与地区之间的竞争。 这种在局部地区的社会和经济进程中的新元素在一些更大的城市获得批准。城市自古以来都是一些变革显现的首要地方。它们是构成宏观经济和文化产生永久变化的基础，受到社会结构变化的驱使。同时，城市本身就是社会变革进程的起因和（最佳）位置（兹金， 1995）。尤其是，大城市 为社
29、会整体提供了结构性变化的驱动力，通过他们所构成的在社会上，在政治上，在文化上和在经济上的推动力。 在城市文化发展中已有成效的社会，经济和文化的改革影响了对文化旅游的意义和认知的理解。这份论文的基本论题是通过这些转变进程朝着一个知识为基础的“服务性社会”发展，这一种新的将社会和经济的进程植根于当地的方式正在进行着。创造性和各种形式的知识在文化旅游发展中起着巨大的作用。居住环境，社会结构和在某些地区的创意发展进程，三者之间的相互作用被视为是一种文化旅游资源。这个基础论题作用于某个设想，一些地区总是通过各种不 同的“语言”来表达他们对城市的复杂定义（物质形态，社会和经济结构性和交往互动）。这些“创造
30、性地区的特殊语言”，结构上，社会中，经济的和认知方面的因素的空间复杂性被看作是一种当地特有的标志，这种身份标识能够被一批某些环境的文化游客读懂和理解。 在“城市复兴“问题上，理论学家和实践人士都支持经济这一支柱力量，城市的环境严重地依赖于经济的发展，并且经济的发展有利于城市景观的重建。此篇论文将会运用知识型社会的相关理论，将“形象、象征”这些蕴义着重考虑到城市生产和消费中去。“文化经济”、“文化工业”、“创新型经济”这 些术语给经济复苏带来了希望，城市的政治学家、城市开发商和经济开发商也正在重新评估城市空间。在对知识服务型社会的社会科学调查分析中我们可以预测城市用地对于具体和个体服务的生产和消
31、费发挥了越来越重要的作用。此篇论文中，城市不仅被认为是文化产品、服务的生产和消费的首选之地，而且也是社会革新的集中之地。如此看来，城市文化旅游业通过其经济和社会效益对“城市的复兴”奉献了一份力量。 文中，“创新”将会被定义为一种能力 在知识的帮助下产生新颖独到的思想。 建立在创新基础上，革新是一个概括性的术语，他代表了一种发展创新思路的能力。革新的先决条件就是摒弃旧的思想、旧观念，创造新的、惊世骇俗的关联，在已给数据和结构中找到新的关系。 关于“城市复兴”的理论争议和“创新环境”在城市社会改革和城市发展和复兴方面扮演着挑大梁和驱动力的角色。他们代表着文化工业领域的经济附加值，与此同时，刺激城市
32、社会“改革环境”、“知识环境”、和”创新环境”方面的改革。本文的论点即：“创新环境”作为一个蕴含在文化旅游中的具体社会团体具有较大的灵活性，并且全方位地与工作与休闲的范围联系在一起。 文化旅游作为城市发展一部分的角色 在二十世纪七十年代后期，文化旅游起初被认为是一种特殊的产品类型，当旅游业人士和旅游研究者意识到一些人专门地去一个旅行，为了更深入地了解其目的地的文化遗产。到了九十年代，文化旅游被认为是一项引人注目的，有广阔市场的活动（理查兹 1996） . 文化旅游被文化遗产管理团体看作是一把双刃剑。一方面，游客的不断增长的要求为提高自然保护行动提供了一个强有力的政治上和经济上的正当理由。另一方
33、面，过度的参观，过度的不合理的使用以及不考虑文化价值的商业化估值，这些都对文化资产的完整性 更 为极端的情况 对文化资产的存在造成了真正的威胁。（劳尔 1993） 里奇和 Zins 将文化旅游定义为旅游景区吸引游客的关键因素。此外，他们还列出了 12 个景区吸引游客的文化元素：主要是手工艺品、传统文化、美食、休闲娱乐活动和当地人民的衣着。其他的重要因素还有当地的教育体系和宗教。文化旅游被视为一种专题旅游形式，这中形式中，文化形成了吸引游客、刺激人们旅游的基础。 文化旅游往往与本地的文化有关，特别是本地的艺术和那些在其中有相关联系的人们。地方和文化遗产 （ zeppel 等 1992） 。这篇文
34、章中的文化旅游是针对城区里的人们和他们的文化基础设施，例如博物馆和富有 “ 地区创造性 ” 的歌剧院。世界旅游组织 (WTO)将文化旅游定义为人员流动基本上是为了文化交流，例如参观考察，表演艺术和文化旅游，为了庆祝节日和其他活动而旅游，访问网点景区和古迹，为了亲近自然而旅游，为了民间传说或者艺术和朝圣（ WTO1985p6）。 文化旅游活动包括不仅是利用充满文化色彩资源的考古遗址 ，博物馆，城堡，宫殿，历史建筑，著名建筑和充满活力的文化遗址，而且同时与当地的节日，活动，音乐，舞蹈或亚文化社区的城市地区相结合 。 本文的目的是确定的城市和所在社区 在全球 化背景下的文化旅游效应。文化根据 Brislin（ 1993） 提及 包括理想，价值观念和生活中 广泛涉及的 一些人与人之间的共同假 设以及一些 指引本文意义上的特定类型的行为：创造环境。文化或文明是一个复合的整体，它包括知识，信仰，艺术，道德法律，海关和其他人类所获得的能力和作为社会成员的生活习惯。文化是人类和城市生活， 是完善 社区充满活力 使其 不断发展的组成部分，从过去到现在不断的联系，并通过对未来的重要组成部分。文化旅游上没有建筑物，但对社区的社会结构的影响不大。在这个意义上影响了文化旅游形象，经验，行动和社区文化
